Unveiling Secrets: 7 Must-Know Insights from X-Men ’97’s Art and Making!

As I pen my review of the 1997 series finale of X-Men: The Animated Series, I find myself at a loss for words, yet eagerly anticipating the adventures that lie ahead. The final scene, a heroic and poignant image, captures the X-Men – Cyclops, Jean Grey, Storm, Jubilee, Wolverine, Beast, Gambit, Rogue, and Morph – standing united beneath a promising dawn skyline, under the watchful gaze of their mentor Professor Charles Xavier. Artist Dan Veesenmeyer’s storyboard paints a vivid picture of these mutants, looking resolutely towards the future with hope and determination in their eyes. This closing shot serves as both an end and a beginning, a testament to the unwavering spirit of the X-Men.

For almost three decades, fans who spent their childhood years following “X-Men: The Animated Series” could merely speculate about what the future might look like for Marvel’s mutants post “Graduation Day.” While blockbuster films and animated spin-offs such as “X-Men: Evolution” (2000) and “Wolverine and the X-Men” (2009) continued the mutant saga on both big and small screens, it wasn’t until 2024 that the series which shaped a generation’s perception of the X-Men resurfaced, much like a phoenix reborn, as “X-Men ’97”.

For three decades, fans have been yearning for more episodes of the ‘X-Men’ animated series. They’ve wondered, “Will it return? Will there be new episodes?” and even simply asked, “Is anything planned?” Julia Lewald, a writer for the original series and a consulting producer on the recent ‘X-Men ’97’, shares this in the preface of the book X-Men ’97: The Art and Making of the Animated Series (Abrams Books, July 1). This official art book serves as an extensive guide to the return of the beloved ’90s Fox Kids Saturday morning cartoon after all these years.

This book by author James Field offers an in-depth exploration of the creation process behind the Emmy-nominated X-Men ’97, featuring storyboards, character drawings, costume designs, production stills, cels, animatic frames, and insights from cast and creators. It serves as a comprehensive resource, providing exclusive details about the first 10 episodes of the series’ first season and giving sneak peeks into the forthcoming Season 2 of Marvel Studios Animation.

In this post, we’ve gathered some intriguing disclosures from the new 223-page book (available starting July 1), that you can now pre-order on Abrams Books or popular retailers such as Amazon.

A Legend Reborn

Brad Winderbaum, who serves as Executive Producer for X-Men ’97 and Head of Streaming, Television, and Animation at Marvel Studios, recently proposed a reboot of the beloved animated series X-Men: The Animated Series to Marvel Studios president Kevin Feige. Having begun his career as an associate producer on the 2000 live-action X-Men film, Feige shared Winderbaum’s enthusiasm, noting in the book, “I was just as excited as you were.” Intrigued by the prospect, Feige’s first queries centered around two key points: “Can we secure the original music?” and “Can we bring back the original cast members?

In this reimagining, Marvel enlisted John Andrew Grush and Taylor Newton Stewart (commonly known as the Newton Brothers) to remake Ron Wasserman’s renowned X-Men theme tune. They also managed to gather together the original series cast members who are still alive, such as Dodd playing Wolverine with his metal claws, Sealy-Smith embodying Storm and her weather powers, Zann portraying Rogue with her power absorption abilities, Buza taking on the role of the intelligent blue-furred Beast, Adrian Hough bringing Nightcrawler’s swashbuckling charm to life, and Chris Britton reprising his villainous character Mister Sinister.

In the revival of the original “X-Men: The Animated Series,” Ray Chase stepped into the shoes previously occupied by the late Spencer as Cyclops’ voice actor, while Matthew Waterson assumed the role of Magneto from Hemblen – both of whom passed away in 2020. Original cast members such as Disher (as Jean Grey), Alyson Court (Jubilee), Ron Rubin (Morph), Chris Potter (Gambit), Lawrence Bayne (Cable) returned to their roles, and newcomers like J.P. Karliak (Morph), A.J. LoCascio (Gambit), Holly Chou (Jubilee), Jennifer Hale (Jean Grey), Isaac Robinson-Smith (Bishop), and Ross Marquand (Professor X) joined the ensemble to bring to life the mutants who strive to protect a world that harbors hate and fear towards them.

Winderbaum remarks about the cast’s return: ‘Initially, it appeared something that would never occur; they couldn’t even imagine it. But now, seeing them all back in the recording studio with renewed enthusiasm and delivering outstanding performances, I must say, some of these recordings are simply astounding.’

The theme song and opening sequence of “X-Men: The Animated Series” are as iconic as its characters’ voices, according to Dana Vasquez-Eberhardt, VP of Marvel Animation. She explains that just like those voices, the theme is a rallying cry for fans. When you hear it, you know you’re part of the team. It’s like a call to arms, a trumpet sound, and it symbolizes what the show will deliver.

The Best There Is

Following my compelling proposal that seamlessly blended the essence of the initial concept while also incorporating themes from the last three decades, Marvel tapped me, Beau DeMayo, as Head Writer for “Moon Knight.” Unfortunately, I was let go just a few days before the series’ premiere on Disney+ in March. Working alongside Dana Vasquez-Eberhardt, who has her hands in “Your Friendly Neighborhood Spider-Man,” Jake Castorena from “Rise of the Teenage Mutant Ninja Turtles,” Ryan Meinerding, Head of Marvel Studios Visual Development on “Avengers: Endgame,” and lead character designer Amelia Vidal of “What If…?” made for an incredible team.

Ultimately, Winderbaum sought advice from the team responsible for X-Men: The Animated Series: Julia and Eric Lewald, along with series producer and director Larry Houston. According to Winderbaum, their input during the production of X-Men ’97 was instrumental in bringing these characters to life. They shared insights about the difficulties they encountered while making the initial series and how they managed to surmount those hurdles. In an effort to recreate the nostalgia associated with X-Men: The Animated Series, we devised our own set of guidelines, ensuring that the appearance and atmosphere of the original remained intact.

Second Genesis

In continuation of “X-Men: The Animated Series” from years ago, Marvel’s “X-Men ’97” was intended to be both modern yet comfortable in today’s era, as Castorena describes the follow-up to the original series that aired 76 episodes over five seasons between 1992 and 1997.

Winderbaum clarifies that the initial concept wasn’t about restarting or remaking the series, but rather rejuvenating it. One key factor was the vast array of X-Men comic book stories that could be further explored in the style of the original animated series. Regarding the potential return to the designs from the ’90s series inspired by Jim Lee, Winderbaum questions why we should revert to a style that might appear outdated when we could create a stunning CGI spectacle on screen instead. However, he expresses his personal preference for that aesthetic and the unique look of the show.

Castorena states that we are a reemergence, gratefully dependent on a pre-existing playground for our work. This environment represents a blend of traditional animation techniques, particularly the nostalgic ’90s style of the show, updated for modern production capabilities, and designed to maintain high-quality results.

X-Men: Blue & Gold

The Animated Series” and its subsequent version, “X-Men ’97”, drew inspiration from notable X-Men comic book storylines. For instance, “X-Men: The Animated Series” featured adaptations of stories like “Days of Future Past”, the “Phoenix/Dark Phoenix Saga”, and “Fatal Attraction”. On the other hand, “X-Men ’97” was significantly influenced by comic arcs such as the “Inferno” crossover, the character-focused “Lifedeath” involving Storm, and the “E Is for Extinction” storyline from “New X-Men”.

A significant impact was the ’90s blue-and-gold phase of the X-Men comic series. The team was divided into two main squads because of their large roster, with Cyclops leading the Blue Team and Storm commanding the Gold Team. Additionally, the creators of the X-Men: The Animated Series, the Lewalds, structured their show bible by categorizing each season’s characters into three groups: the A-team (most important in a story), B-team (somewhat important in a story), and the C-team (least important in a story).

In my take on the nostalgic ‘X-Men ’97’ animated series, the main quartet was a star-studded lineup featuring Cyclops, Jean Grey, Magneto, and Storm, each character gracing us with their individual, captivating storylines that spanned multiple episodes. Then we have the dynamic trio of Rogue, Gambit, and Jubilee, who took turns stealing the spotlight in episodic adventures. Lastly, the electrifying Wolverine, Morph, and Beast formed the vibrant “C-team,” adding a dash of excitement to the tales while carving out their own moments to truly shine.

Weapon X-Man

For instance, Wolverine has been the primary X-Man since before the final episode of “The Animated Series” aired in 1997, with Hugh Jackman’s portrayal of Wolverine becoming the main character in various projects such as the 2000 “X-Men” film, his own trilogy, and the upcoming 2024 release “Deadpool & Wolverine”. In this latest storyline, however, Wolverine is part of a secondary team instead of being the lead. The creators aimed to explore different aspects of Wolverine’s character, particularly focusing on his relationship with Jean Grey as she carries a child and his close friendship with Morph, the shape-shifter.

Castorena observes that we’re interested in seeing how he truly fits in, not just his solitary nature. Similarly, Emi/Emmett Yonemura, the episodic director, expresses that audiences want to witness Wolverine as a fighter, ready for combat and dealing damage. However, it’s intriguing to delve into his softer aspects, as it’s essential to maintain a balance. They believe that his masculinity stems from his age, his extensive experience, and the fact that some versions of Wolverine have glimpsed a grim future for the X-Men. Therefore, there’s much more to understand about him.

Vasquez-Eberhardt explains that by combining narratives such as “Inferno” and “E Is for Extinction” into a single, unifying narrative culminating in the three-part season finale titled “Tolerance Is Extinction,” they aimed to ensure each character’s emotional journey was portrayed faithfully. To accomplish this task while maintaining their affection for these individual characters, they had to be extremely careful and make sure all elements were seamlessly connected, fulfilling the grand expectation of these elaborate storylines.

“To Me, My X-Men!”

When Cyclops, the team’s leader, yells out that instruction, he gathers Wolverine, Storm, Rogue, Gambit, Beast, Morph, and Bishop within a crater they’re standing on. With a powerful optic blast released from behind his ruby visor, he splits the air itself, demonstrating an immense show of force.

According to FX Lead Designer and FX Supervisor Chris Graf, Cyke’s impressive superhero landing was considered one of the toughest animation tasks due to its complexity. He explained that he went through about twelve different design phases for that specific shot in order to make each moment where a new visual effects element appeared convincing.

According to Graf, who personally handled the animation for this specific scene, it served a crucial purpose in demonstrating Cyclops’ immense power and leadership skills. Moreover, it was significantly important to our showrunner and directors to provide Cyclops with his well-deserved big-screen moment, effectively highlighting his strength as a team leader.

He explains that creating the six-second animation scene required approximately eighty hours due to multiple layers of sand, wind, dust, light flashes, and shockwaves. It was crucial in design to convey that his optic blast is more like a forceful impact rather than a heat-based laser, and that he can control the power level according to the type of characters he’s fighting. This means being able to lessen his power for fights against ordinary thugs or intensify it when battling towering Sentinels was an essential detail of fine-tuned command we wanted to emphasize for the leader of the X-Men.

The premiere of “X-Men ’97” series concludes with a major upheaval at the X-Mansion. Magneto, the arch-nemesis of the X-Men and master of magnetism, announces that he has inherited everything from Charles Xavier’s will. This sets the stage for “The Trial of Magneto” and a reformed Magneto taking charge of the X-Men, echoing a popular tale from the comics. In an interview, Castorena disclosed that the ending underwent multiple revisions in terms of scenes and tone.

In the first installment, it’s crucial to strike a subtle blend of newness and familiarity, as rushing into high-octane action might be thrilling (as we do in Episodes 2 and 3), but it’s slightly intense. First, we need to win over the audience by demonstrating our understanding of the X-Men’s essence; that we are aware of the legacy we are inheriting. This is akin to X-Men: The Animated Series, where Castorena explains, “Our series is built on suspenseful endings designed to keep you eager for more. So what’s a more captivating cliffhanger than the X-Men’s arch-nemesis appearing and claiming, ‘By the way, this was all mine.’

Next Time on X-Men ’97…

Across a total of 223 pages, “X-Men: The Art and Making of the Animated Series ” delves into the first season’s 10 episodes in detail, using separate chapters for each. In true Marvel style, the book ends with a tantalizing sneak peek at “X-Men ’97” season 2.

In the final episode of the season titled “Tolerance Is Extinction – Part 3,” it is assumed that the X-Men have perished, having successfully prevented Bastion (Theo James) from launching Magneto’s Asteroid M towards Earth, thereby averting a mass extinction. Bishop then communicates to Forge (Gil Birmingham) that due to “E-Day,” the original X-Men are now lost in time, leading them to assemble a new squad for a rescue operation next season.

In the previous season, Xavier, Magneto, Rogue, Nightcrawler, and Beast found themselves in the distant past, around 3000 BCE, facing En Sabah Nur (played by Adetokumboh M’Cormack). Meanwhile, Wolverine, Storm, and Morph were absent from the present timeline. Cyclops, Jean Grey, and a young Nathan Summers (who will grow up to be Cable) were in the future year 3960. The upcoming season is expected to cover all three time periods, with En Sabah Nur (Marquand’s voice) reappearing in the present-day Genosha in a mid-credits scene.

In a hint, Castorena shares that season 2 of X-Men ’97 will feature some of the most visually stunning episodes in television animation. He’s particularly impressed with the color and paint team’s work on environments and designs. He’s eager for everyone to see the unique touches added by the internal team, but warns fans they’ll have to be patient to witness it. In closing remarks, Castorena reflects that the original X-Men: The Animated Series became a hit because the Lewalds and Houston stayed faithful to the source material.

Moving forward, we draw inspiration from our foundation – the original ‘X-Men: The Animated Series’. It serves as our guiding light, and I believe this is why ‘X-Men ’97’ has resonated with fans. We’re not just creators; we’re passionate fans who want to bring the stories we love to life. With a studio that shares our passion for quality storytelling and respects the source material, we’re pushing boundaries in season two. The team is redefining narrative and visual storytelling in TV animation, creating something truly unique.

Looking back, if I could show six-year-old me all the incredible sights and experiences I’ve had, he wouldn’t even think it was real,” Castorena says. “I might add that it’s alright to embrace your interests and be true to yourself. However, young me wouldn’t need this advice… because he was already a fan of the X-Men.

X-Men ’97: The Art and Making of the Animated Series is available July 1 from Abrams.

2025-06-30 00:41